I am the history of the rejection of who I am

All of Western tradition, from the late bloom of the British Empire right through the early doom of Vietnam, dictates that you do something spectacular and irreversible whenever you find yourself in or whenever you impose yourself upon a wholly unfamiliar situation belonging to somebody else. Frequently it's your soul or your honor or your manhood, or democracy itself, at stake.

and if i if i ever let love go because the hatred and the whisperings become a phantom dictate i o- bey in lieu of impulse and realities (the blossoming flamingos of my wild mimosa trees) then let love freeze me out. (from i must become a menace to my enemies)

South Africa used to seem so far away. Then it came home to me. It began to signify the meaning of white hatred here. That was what the sheets and the suits and the ties covered up, not very well. That was what the cowardly guys calling me names from their speeding truck wanted to happen to me, to all of me: to my people. That was what would happen to me if I walked around the corner into the wrong neighborhood. That was Birmingham. That was Brooklyn. That was Reagan. That was the end of reason. South Africa was how I came to understand that I am not against war; I am against losing the war.

I wrote those poems for myself, as a way of being a soldier here in this country. I didn't know the poems would travel. I didn't go to Lebanon until two years ago, but people told me that many Arabs had memorized these poems and translated them into Arabic.

My father was very intense, passionate and over-the-top. He was my hero and my tyrant.

As a poet and writer, I deeply love and I deeply hate words. I love the infinite evidence and change and requirements and possibilities of language.